Todi
A late-morning raga shaped by komal Re, Ga and Dha, tivra Ma and the close movement between Re and Ga.
Reading the swaras
Sa is the reference pitch. The shuddha notes are S R G M P D N; r g d n denote komal Re, Ga, Dha and Ni. M^ denotes tivra Ma. An arrow after a note places it in the upper (↑) or lower (↓) octave. Without an arrow, the note belongs to the middle octave.
Overview
Todi, also called Miyan ki Todi, belongs to the late morning. Its komal Re and Ga move closely together, while tivra Ma opens the way towards komal Dha and shuddha Ni. Dha and Ga give the melody its principal resting centres. Pa is available, but does not carry the steady weight it has in many seven-note ragas. The result is an inward, serious sound that depends on the shaping of each phrase, not simply on singing the scale.
Notes and identity
| Field | Details |
|---|---|
| Thaat | Todi |
| Jati | Sampurna–Sampurna (seven notes in each direction) |
| Swaras used | S r g M^ P d N; Re, Ga and Dha are komal, Ma is tivra. Pa is used sparingly. |
| Vadi | Dha (d) |
| Samvadi | Ga (g) |
| Aroha | S r g M^ P d N S↑ |
| Avaroha | S↑ N d P M^ g r S |
| Time | Late morning, second prahar of the day |
| Rasa / bhava | Serious, reflective |
Grammar & signature
Give the movement between r and g time to unfold. A slide into Ga and the return g r S make the lower part recognisable. The upper movement can rise through M^ d N S↑ without stopping on Pa; on the way back, N d P brings Pa into the line. Keep this selective use of Pa distinct from leaving it out altogether.
Pakad / chalan (illustrative)
S r g, g r SM^ d N, N d PM^ g r, g r S
These short movements connect the Re–Ga turn with the upper resting area around Dha.
Phrase examples
- Lower movement:
S r g, r g, g r S. - Rising without Pa:
M^ d N S↑. - Returning through Pa:
S↑ N d P, M^ g r S. - Keep Re and Ga connected in the slow phrases rather than making every note an isolated step.
Allied ragas & differentiation
- Gurjari Todi leaves Pa out altogether. Todi keeps it available, especially in a return from the upper notes.
- Purvi also has komal Re and Dha with tivra Ma. Its Ga is shuddha, and shuddha Ma colours its descending phrases; Todi keeps Ga komal and does not use shuddha Ma.
Related music
Explore Khayal, Meend, Vadi and Samvadi.